Скачать или смотреть 📅Raag Komal Rishab Asavari Vocal - Subhra Guha Sahiba Teaches: Aroh/Avaroh, Pakad, Bandish, & Sargam

Brought To You by Adam Gheli aka Bhaijaan Yousufi

Thaat: Bhairavi
Aarohi: S r m P d S'
Amrohi: S' r' n d m P d m g r g r 'n 'd r S
Vadi: d
Samvadi: r
Pakard: m P d S'---r' n d m g r--g r S
Time: 9 am - 12 pm
Zaat: Audav - Shadav

Raag Komal Rishabh Asavari is a morning raga in the Bhairavi thaat. It is characterized by the use of the komal (flat) re, gandhar, and nishad notes. The vadi (dominant) note is the dha, and the samvadi (secondary dominant) note is the re.

The raga is said to have originated in the 16th century, and is believed to be the original form of the raga Asavari. It is often performed during the springtime, and is said to evoke feelings of love, peace, and tranquility.

The raga is typically sung in the lower octave, and uses a slow tempo. The phrases are long and flowing, and often feature meend (glissandos). The raga is also known for its use of gamaks (microtonal ornamentations).

Some of the famous compositions in Raag Komal Rishabh Asavari include:
"Asavari Todi" by Amir Khusro
"Malkauns" by Tansen
"Manjha" by Sadarang
"Bhairavi Todi" by Vilayat Khan
"Jhinjhoti" by Ravi Shankar

Raag Komal Rishabh Asavari is a complex and challenging raga, but it is also one of the most beautiful. It is a raga that can be enjoyed by both listeners and performers alike.

Here are some additional details about the raga:
The ascending scale (arohana) is: S R M P D S'.
The descending scale (avarohana) is: S' N D P M G R S.
The notes that are avoided (varjya) are: G# and N#.
The raga is typically sung in the lower octave, but it can also be sung in the middle and upper octaves.
The tempo is typically slow, but it can be played at a faster tempo as well.
The phrases are long and flowing, and often feature meend (glissandos).
The raga is also known for its use of gamaks (microtonal ornamentations).

If you are interested in learning more about Raag Komal Rishabh Asavari, I recommend listening to some of the recordings mentioned above. You can also find more information about the raga in books and articles on Hindustani classical music.

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Intro: (0:00)
Pakard: (0:13)
Bandish: (0:27)
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